Creating a sense of magical realism through in-game lighting
透過遊戲打光，創造奇幻現實的場面
Lighting is an often underused and underappreciated tool in the game developer’s tool kit.
打燈在遊戲開發者工作包裡，通常是被未充分利用和被低估的工具。
打燈在遊戲開發者工作包裡，通常是被未充分利用和被低估的工具。
In addition to its (very good) function of making your game visible and readable by the player, lighting can be manipulated to evoke a specific atmosphere or draw particular attention to a level’s design.
除了它可以讓你的遊戲看的見(非常好)和讓玩家可辨識，操控打光可以引起特殊的氛圍，或在關卡設計中吸引特別的注意。
除了它可以讓你的遊戲看的見(非常好)和讓玩家可辨識，操控打光可以引起特殊的氛圍，或在關卡設計中吸引特別的注意。
For this reason Midnight Hub, the Malmo-based indie studio behind Lake Ridden, aimed to take full advantage of lighting while working on the puzzle-exploration game.
基於這個原因，Midnight Hub，以Malmo為基底的獨立工作室，Lake Ridden的幕後團隊。目標是以燈光展開全程冒險，在益智探索的遊戲中實現。
基於這個原因，Midnight Hub，以Malmo為基底的獨立工作室，Lake Ridden的幕後團隊。目標是以燈光展開全程冒險，在益智探索的遊戲中實現。
Rather than simply using lighting to illuminate a scene, the team wanted to evoke a sense of magical realism, purposefully lighting each scene to accentuate the length and shape of shadows as well as draw the player deeper into the story and its mysterious forest setting.
並非單純使用燈光照亮場景，團隊想要引發魔幻寫實的氛圍，每個場景中，有目的的打燈會加大範圍和陰影形狀也會更吸引玩家進入遊戲和它的神秘森林環境。
並非單純使用燈光照亮場景，團隊想要引發魔幻寫實的氛圍，每個場景中，有目的的打燈會加大範圍和陰影形狀也會更吸引玩家進入遊戲和它的神秘森林環境。
The premise of Lake Ridden is simple: you play as a girl named Marie who is looking for her younger sister. She’s gone missing while on a camping trip in the woods, and it's up to you to explore your surroundings for clues on how to find her.
Lake Ridden的前提是單純的 : 你扮演一位叫Marie的女孩，要去尋找她的妹妹，她在森林裡露營時失蹤，靠你去探索周遭的線索尋找她的下落。
Lake Ridden的前提是單純的 : 你扮演一位叫Marie的女孩，要去尋找她的妹妹，她在森林裡露營時失蹤，靠你去探索周遭的線索尋找她的下落。
Playing from a first-person perspective, you're tasked with solving puzzles found throughout the different areas to advance and illuminate light sources, which in turn keep track of where you’ve already been. But, as you explore deeper into the woods, you’ll soon realize that there is more to the environment than first appeared. Something supernatural is afoot.
從第一人稱視角，你的任務是解開不一樣區域的謎題，以此推進和點亮光源，反過來說，保存你已經走過的路徑。但當你探索森林深處時，你將很快發現場景內容比第一次接觸時更多，某些超自然正在進行。
從第一人稱視角，你的任務是解開不一樣區域的謎題，以此推進和點亮光源，反過來說，保存你已經走過的路徑。但當你探索森林深處時，你將很快發現場景內容比第一次接觸時更多，某些超自然正在進行。
"You never want to just place a light somewhere [randomly], you want to [say] 'What can we do to make this area interesting with this light?'"
Settling on an art direction 訂定美術方向
One of the biggest problems during the development of Lake Ridden was the amount of time and resources the team had to make the game. While coming up with the art direction, the team were conscious of how time-intensive a realistic aesthetic would be and therefore decided against it, choosing to go with a more stylized look inspired by games like Among the Sleep and Firewatch.
在開發 Lake Ridden時，所遇到的最大問題之一，就是團隊製作遊戲所需大量的時間與資源。面臨美術方向時，團隊意識到時間緊迫的現實美學會是一個方法，因此決定挑戰它，並且選擇更具風格化的外貌，是來自Among the Sleep和Firewatch的啟發。
在開發 Lake Ridden時，所遇到的最大問題之一，就是團隊製作遊戲所需大量的時間與資源。面臨美術方向時，團隊意識到時間緊迫的現實美學會是一個方法，因此決定挑戰它，並且選擇更具風格化的外貌，是來自Among the Sleep和Firewatch的啟發。
“We realized that if we were going to finish this game we should just do somewhat semi-realistic textures, and maybe paint them a little bit, and then do the stylized feeling with the atmosphere, and the fog, and the lighting, and so on,” explains Erik Nilsson, the art director on the game.
「我們了解到如果要完成這個遊戲，應該要做些半寫實的材質，並且也許一些手繪，用些大氣氛圍 霧氣，光線做出風格化。」Erik Nilsson解釋，Lake Ridden的藝術指導。
「我們了解到如果要完成這個遊戲，應該要做些半寫實的材質，並且也許一些手繪，用些大氣氛圍 霧氣，光線做出風格化。」Erik Nilsson解釋，Lake Ridden的藝術指導。
The look they strived for with the lighting and environmental effects was something they termed “Hollywood realism”, where the contrast between light and shadow is purposefully dramatic or exaggerated to evoke a particular atmosphere. You can see this in the quite pronounced volumetric light shafts in the daytime scenes and in the interior shadows.
他們致力於用光線和環境效果達到所謂的「好萊塢現實主義」的樣貌，燈光與陰影的對比，是具有目的的戲劇效果或誇張地想要喚起特殊氛圍。你可以在白天場景和室內陰暗處看到相當明顯的體積光軸（light shafts）
他們致力於用光線和環境效果達到所謂的「好萊塢現實主義」的樣貌，燈光與陰影的對比，是具有目的的戲劇效果或誇張地想要喚起特殊氛圍。你可以在白天場景和室內陰暗處看到相當明顯的體積光軸（light shafts）
Using reference material for guidance 使用資料素材當作指引
The team looked at tons of reference material to achieve this tone, including real world photography and stills from Hollywood movies such as the cinematography of Andrew Lesnie (The Lord of the Rings) and John Alcott (The Shining).
團隊觀察素材的色調去建立這類的色調，包括真實世界的攝影相片，和來自好萊塢的劇照，像是攝影師Andrew Lesnie (末戒系列) 和 John Alcott (鬼店)
團隊觀察素材的色調去建立這類的色調，包括真實世界的攝影相片，和來自好萊塢的劇照，像是攝影師Andrew Lesnie (末戒系列) 和 John Alcott (鬼店)
This helped them decide how to render particular objects in the game’s world and how many highlights an item should have. They then used their own plug-ins to tweak the saturation and balance colors in the environment when tinting the light, giving the day scenes a warmer overall look and a blue tone to the game’s nights.
這可以幫助他們決定如何為遊戲世界裡，特別的物件上色，物件應該需要多少高光。接著他們用自家的外掛去微調飽和度和當染上光的顏色，要平衡環境顏色，提供白天場景更溫暖的整體外觀和給遊戲的夜晚藍色調。
這可以幫助他們決定如何為遊戲世界裡，特別的物件上色，物件應該需要多少高光。接著他們用自家的外掛去微調飽和度和當染上光的顏色，要平衡環境顏色，提供白天場景更溫暖的整體外觀和給遊戲的夜晚藍色調。
“I think [more designers] should look a lot at movies,” says Nilsson. “Look how they are lighting things, because nothing is an accident. Everything is planned. If you have a light, try to get the most out of it, because a shadow is great for breaking up a texture and making it look more interesting.” He adds, “You never want to just place a light somewhere [randomly], you want to [say] 'What can we do to make this area interesting with this light?'”
Nilsson 說 :「我認為大多(設計師)應該多看一點電影」看他們怎麼打光，因為沒有燈光是意外的造成的，每件事都是計畫好的。如果你有一盞燈，試著充分利用它，因為陰影非常適合拆散紋理並使其看起來更有趣。“他補充說，”你永遠不想在某個地方[隨機]放置一盞燈，你想[說]'我們能用這個燈，做些什麼來讓這個區域有趣？
Nilsson 說 :「我認為大多(設計師)應該多看一點電影」看他們怎麼打光，因為沒有燈光是意外的造成的，每件事都是計畫好的。如果你有一盞燈，試著充分利用它，因為陰影非常適合拆散紋理並使其看起來更有趣。“他補充說，”你永遠不想在某個地方[隨機]放置一盞燈，你想[說]'我們能用這個燈，做些什麼來讓這個區域有趣？
Tackling the natural lighting 處理自然採光
You see this approach on display early on in the game, when you come across a campsite bathed in moonlight. This clearly communicates to the player that this is the next area of importance, contrasting significantly against the dark forest environment.
你可以看到在遊戲裡，早期使用這種方法顯現，你發現了一處在月光照射下的營地，這明確告知玩家，這是下一個重要的區域，與黑暗的森林環境形成鮮明對比。
你可以看到在遊戲裡，早期使用這種方法顯現，你發現了一處在月光照射下的營地，這明確告知玩家，這是下一個重要的區域，與黑暗的森林環境形成鮮明對比。
“We wanted to create these light islands, where if you walk through the path, you can almost always tell where you’re going from this light island space up ahead,” Nilsson explains. “It’s like, “Okay, here’s the next breadcrumb.” It should be light enough that you can explore a bit if you want to, but usually it is [only] the important parts that are lit up.”
This technique is used throughout, such as later when you happen across a stone ruin in the garden swarming with fireflies. Not only is it a functional way of leading the player through a level, it also carries a thematic importance in the plot.
At times the light takes on the form of ghost lights, similar to will-o’-the-wisps from European folklore that were said to lead travelers astray. The game has you follow these moving blue lights throughout a forest to locate certain puzzles in a move that gradually introduces the player to the presence of the more magical elements.
有時候燈光會以鬼燈的形式，類似來自歐洲民間傳說的鬼火，據說會引導旅人走錯路。遊戲讓你跟著這些移動的藍色燈光，穿過森林去在移動中定位某些謎題，逐漸地引入玩家到更多神奇元素的存在。
有時候燈光會以鬼燈的形式，類似來自歐洲民間傳說的鬼火，據說會引導旅人走錯路。遊戲讓你跟著這些移動的藍色燈光，穿過森林去在移動中定位某些謎題，逐漸地引入玩家到更多神奇元素的存在。
Using light sources as markers 把光源當作標記
It isn’t just natural lighting that is important for the level design however. While exploring the manor and the garden locations, you will also often come across static light sources, including lanterns and candles. These are usually placed close to puzzles, key items, and along paths, and can be lit to keep track of where you’ve already been or to simply illuminate the environment and get a better sense of your surroundings.
對關卡設計而言，自然光不止重要，然而在探索莊園和花園時，你也會遇到靜態光源，包括燈籠和蠟燭。這些光源通常會放置在靠近謎題，重要物件或是長型通道上，可以照亮你所在的通道上，或只是照亮環境，並更容易了解環境四周。
對關卡設計而言，自然光不止重要，然而在探索莊園和花園時，你也會遇到靜態光源，包括燈籠和蠟燭。這些光源通常會放置在靠近謎題，重要物件或是長型通道上，可以照亮你所在的通道上，或只是照亮環境，並更容易了解環境四周。
"We started out with a flashlight, but it was a lot more fun just to light things [ourselves]...going around with a flashlight everywhere, you’re not only going to destroy the level design, but also the atmosphere."
The decision to add light sources had the benefit of allowing the developer to keep control of the lighting and the mood of each setting, while still giving the player some level of interaction within the scene.
增加光源有些好處，允許開發者掌握燈光的控制和每個設定的情緒，持續在場景中，給予玩家一定程度的互動。
增加光源有些好處，允許開發者掌握燈光的控制和每個設定的情緒，持續在場景中，給予玩家一定程度的互動。
But this wasn’t always the plan.
但計劃最初不是這樣。
但計劃最初不是這樣。
“We started out with a flashlight, but it was a lot more fun just to light things [ourselves],” explains Nilsson. “If you have a stationary light, you can decide where the light sources are going to be and how things are seen. Whereas going around with a flashlight everywhere, you’re not only going to destroy the level design, but also the atmosphere.”
Exploring the environments for the first time in Lake Ridden, these static lights are important for slowly dispelling the mystery of the game’s world, with the player able to gradually reveal a scene through careful exploration and interaction with the objects around them. It heightens the atmosphere and sells you on the idea that you are the first person to visit the setting in a long time.
Dynamic over baked lighting 動態烘培照明
It should be mentioned, though, that the Midnight Hub’s approach to lighting wasn’t without its technical problems. The game was supposed to be lit using baked lighting, which is often a low-cost approach as light and shadows are pre-computed using lightmaps. However, Unity’s lighting system seemed unsuited to the large open environment of the game, meaning they couldn’t get the shadow baking to work properly. It would either be of a low quality or crash the game.
The compromise was using dynamic lighting instead. Although, allowing players to light up individual light sources around the world proved taxing on the game’s performance. Johan Bernhardsson, the project director, therefore had to rewrite his own personalized lighting system, to ensure that light and shadows would turn off at a certain distance. This helped maintain performance and ensured that the gameplay didn’t slow down to a crawl if the player lit all the available light sources in a level.
“The main reason [we did this] was because the original lights that are in Unity are pretty good if you want to bake everything, but since we had an open-world area we had some real big problems getting the baking to work,” explains Nilsson. “It just didn’t like the scale of the game. We tried to do real-time outside and baking inside and that didn’t work either.”
Lake Ridden demonstrates just how effective a tool lighting can be. It is not only used to sell the player on the supernatural nature of the game, but to carefully lead the player through the world. I ask Nilsson how challenging it was to get the lighting right for the game.
Lake Ridden 展示一個運用燈光的效果會是怎樣呈現。它不只被利用賣給玩家，讓他們在一個超自然的游戲裡，也小心地讓玩家探索整個世界。我問Nilsson，正確燈光對這款游戲是多麼挑戰的事。
Lake Ridden 展示一個運用燈光的效果會是怎樣呈現。它不只被利用賣給玩家，讓他們在一個超自然的游戲裡，也小心地讓玩家探索整個世界。我問Nilsson，正確燈光對這款游戲是多麼挑戰的事。
“We have internal jokes about how much of a pain in the ass the fog and the light has been,” says Nilsson. “I think we have like learned of what not to do for the next project, but yeah, it has been a big thing to get right because it does so much for the atmosphere to get those two things right.” He highlights having to use their own dynamic lighting as one of the biggest lessons they learned. “It’s definitely been a real uphill struggle.”
Nilsson説 : 我們內部有個笑話有關，到底在霧跟光有多令人討厭，我認為我們已經了解了下一個項目不該做的事情，但是，正確的做法是一件很重要的事情，因為它讓氣氛變得如此之大，以至於讓這兩件事情變得正確。”他強調必須使用 他們自己的動態照明是他們學到的最重要的教訓之一。 “這絕對是一場真正艱難的奮戰。”
Nilsson説 : 我們內部有個笑話有關，到底在霧跟光有多令人討厭，我認為我們已經了解了下一個項目不該做的事情，但是，正確的做法是一件很重要的事情，因為它讓氣氛變得如此之大，以至於讓這兩件事情變得正確。”他強調必須使用 他們自己的動態照明是他們學到的最重要的教訓之一。 “這絕對是一場真正艱難的奮戰。”
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